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Helen Cruickshank 1886 - 1975

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Helen Cruickshank 1886 - 1975 Helen Cruickshank 1886 - 1975 Contents: Biography.................................................................................................................................................................Page 1 Contexts..................................................................................................................................................................Page 2 The Ponnage Pool....................................................................................................................................Pages 3 - 6 What does Ponnage mean ?........................................................................................................................Page 7 Further Reading / Contacts.............................................................................................................Pages 8 - 11 Biography: Helen Cruickshank (1886 - 1975) : born in 1886, near Montrose, where she went to school. Summer holidays were spent in Angus, and the landscapes and people of the re- gion and its glens appear in her poetry. After leaving school, she entered the Civil Service, working fi rst in London, and then, from 1912, in Edinburgh where she spent most her life. She joined the women’s social and political union, and campaigned for the suffragette cause. She was also a Scottish nationalist, member of the Saltire Society, and co-founder of Scottish Pen. Helen Cruickshank devoted much of her life to other people, helping and supporting them in various ways. Not only did she care for her elderly mother, she also encouraged the work of Lewis Grassic Gibbon, Hugh MacDiarmid and other writers, and appreciated the work of Violet Jacob and marion Angus. She wrote in English and Scots and published several volumes of poetry between the 1930s and 70s. she died in 1975, but the signifi cance of Cruickshank’s generous contribution to Scottish cultural life still awaits full estimation. 1 Copyright 2003 © Scottish Literary Tour Trust. All Rights Reserved. Helen Cruickshank 1886 - 1975 Contexts: Cruickshank played an important role in the Scottish literary renaissance, not just through her poetry, but by her involvement in the Scottish literary scene throughout much of the 20th century, including her involvement with Scottish PEN. In 1921, in the aftermath of the First World War, a society called International PEN was established to promote the friendly co-operation between writers in the interests of freedom of expression throughout the world. More generally, its was founded to promote respect and understanding between nations despite the often huge and seemingly impenetrable political differences that exist between them. The acronym PEN stands for poets, playwrights, essayists, editors and novelists. Central among the society’s aims was to create a world community of writers that would emphasise the central role of literature in the development of world culture. Scottish PEN was founded six years later by Hugh MacDiarmid and a number of other prominent writers including, Naomi Mitchison, Neil Gunn, Edwin Muir, and Helen Cruishank, who was to be the association’s secretary for a number of years. This is a signifi cant moment in Scotland’s literary development since it was a public and international assertion of Scotland’s right to have a distinctive voice and position on the world stage, particularly when many people (including some at home) believed that Scotland’s culture was not suffi ciently different from England’s to merit a separate PEN centre. MacDiarmid gets much of the credit for all this – rightly, perhaps, since he fought so long and hard to establish a position in the world culture for Scots language and literature. But it says a great deal about the critical shadow that many women writers have existed under for so long that many of them exist as mere footnotes in the history of Scottish writing. It is not even a question of statistics – research has shown that the balance of the numbers of men and women writers is roughly 50-50. But it’s mostly the men whom you fi nd in the anthologies and in the pages of Scottish textbooks. Critical favour has been slow in coming for many Scottish women writers, and although that now seems to be changing for the better we still have to dig quite deep to fi nd anything about Helen Cruickshank. What we do know is that she was as selfl ess in her devotion to her mother, whom she looked after for 16 years following the death of her father, as she was to the cause of Scottish writing and the support of her fellow writers. She wrote in English as well as Scots and much of her work refl ects the infl uence of her contemporaries – Hugh MacDiarmid and Lewis Grassic Gibbon in particular, to each of whom she dedicated a poem – and a profound connection with the land of her birth. 2 Written By Colin Clark Copyright 2003 © Scottish Literary Tour Trust. All Rights Reserved. Helen Cruickshank 1886 - 1975 The Ponnage Pool . Sing Some simple silly sang O’ willows or o’ mimulus A river’s banks alang (Hugh MacDiarmid) I mind o’ the Ponnage Pule, Mind: remember The reid brae risin’, Reid: red Morphie Lade. Lade: a channel for water An’ the saumon that louped the dam, Saumon: salmon; louped: jumped A tree i’ Martin’s Den Wi’ names carved on it; But I ken na wha I am. Ken: know; na: not; wha: who Ane o’ the names was mine, Ane: one An’ still I own it. Naething it kens O’ a’ that mak’s up me. Less I ken o’ mysel’ Than the saumon wherefore It rins up Esk frae the sea. I am the deep o’ the pule, The fi sh, the fi sher, The river in spate, The brune of the far peat-moss, Brune: brown; peat-moss: The shingle bricht wi’ the fl ooer moorland O’ the yallow mim’lus, Flooer: fl ower The martin fl eein’ across. I mind o’ the Ponnage Pule On a shinin’ mornin’, The saumon fi shers Nettin’ the bonny brutes – I’ the slithery dark o’ the boddom Boddom: bottom O’ Charon’s Coble Ae day I’ll faddom my doobts. Faddom: fathom The fi rst challenge that faces us with this poem is in the title. What is The Ponnage Pool? Or more specifi cally, what does ‘ponnage’ mean? Is it the name of a place? A geographical 3 feature? Is it enough for us to leave the word alone, assume it’s a place name, like Craigo Copyright 2003 © Scottish Literary Tour Trust. All Rights Reserved. Helen Cruickshank 1886 - 1975 Woods, or Wauchopeside, which have featured as titles of other Scots poems? Certainly our reading of this poem will not be hampered by a lack of comprehension of the word, but it could be interesting to investigate a little and try to shed some light on it. The poem begins with another poem, a quotation from Hugh MacDiarmid. We know that Cruickshank was a colleague of MacDiarmid, even helped him out of a few tricky situations, and she was a great admirer of his poetry. Using quotations like this has long been a way for poets to recognise a debt of gratitude or admiration for other poets. It’s also partly a clue to their underlying meaning. This would be good place to point out that silly in this case means innocent or humble rather than daft, or stupid; and that simple means plain and unadorned, not dim-witted. It might also be useful to be aware that part of Hugh MacDiarmid’s literary project, once he moved away from writing in Scots, was about calling for a poetry which was rooted in direct experience of the land. In a way it was about ‘getting back’ to Nature – as well as one’s own nature, i.e. that which is innately yours, a poetry with “the outer magic and the inner mystery imaginatively reconciled” (The Kind of Poetry I Want, 1961). Cruickshank’s poem proper begins with a memory: “I mind o’ the Ponnage Pule”. We notice that the English pool of the title has been rendered into the Scots pule – the language locates the poem in Scotland, and perhaps locates the poet in her childhood when she would have spoken the language quite freely. The memory of the “ponnage pule” is listed along with “the reid brae risin’” and “Morphie Lade”. The fi nal of these three places lets us know for certain that the poem is concerned with a specifi c place, near her home in Montrose, in Angus – very near, incidentally, to the Craigo Woods celebrated by Violet Jacob. With the “saumon that louped the dam” in line 4, we begin to enter more symbolic territory. Salmon appear frequently in the literature of Scotland – dating as far back as St Mungo and the legend of the ‘fi sh that never swam’ in Glasgow’s city crest – and has its roots in Celtic mythology where the salmon represents knowledge. This salmon jumping the dam is also a real memory from the poet’s youth – but how is it important now? In the next line she recalls “a tree i’ Martin’s Den” – again, trees are powerful symbols of knowledge and wisdom and power. This tree has names carved on it, but the poet tells us in line 7 – “I ken na wha I am.” This last line of the fi rst verse really alerts us to the major theme of the poem: self- knowledge, identity. The poet uses the present tense ‘ken’ – she still doesn’t know who she is, even as a mature adult. The act of naming is one thing, but self-knowledge goes way beyond that. It is interesting to look at the sound patterning in the poem where we fi nd that, as well as the end-rhymed lines 4 and 7, there are certain other sound relationships – most signifi cantly ‘den’ (line 5) and ‘ken’ (line 7), reinforcing this notion that self- knowledge is something hidden from her, that it is something she had as a child, but has 4 lost somewhere along the way to becoming an adult. Copyright 2003 © Scottish Literary Tour Trust. All Rights Reserved. Helen Cruickshank 1886 - 1975 Indeed, we discover in the fi rst line of the second verse that one of the names on that tree was hers but “naething it kens/ O’ a’ that mak’s up me”.
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